555 (1988)

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Return of the Living Dead, The (1985)

Directed by:
Dan O'Bannon

A comic spin on George Romero's NIGHT OF THE LIVING DEAD (1968) based - at least in part - on contributions from several Romero movie alum; Night co-writer John A. Russo, Night co-producer Russell Streiner and Rudy Ricci, who co-wrote Romero's romantic comedy THERE'S ALWAYS VANILLA (1971), this managed to carve its own path and proved to be pretty influential in its own right. Originally slated to be directed by Tobe Hopper, O'Bannon got the job instead and did a major re-write on the project's previous materials; adding most of the humor to the film himself. It also happened to be released the same year as DAY OF THE DEAD (1985), Romero's third installment in his "Dead" trilogy. Upon release, instant and perhaps unfair comparisons were drawn between the two films, with Return clearly coming out on top. Being the #1 box office draw the week it debuted, it not only managed to pummel Day (a flop by comparison) at the box office but also received a much-warmer reception from both audiences and mainstream critics. Roger Ebert, for instance, awarded Return with a 3 star "thumb's up" while Day received a discouraging 1 1/2 star "thumb's down." Regardless of the initial reaction nearly thirty years ago, both films have gone on to become very popular and respected films within the genre.

Though I like both movies a lot, I might even have to agree with the general consensus that Return is the more successful of the two, but I only say that judging both by what they were intended to be, not by directly comparing them. Day is a serious, apocalyptic horror tale, whereas Return is a comic spin on zombie films. Romero's film is bleak, gory, claustrophobic and dialogue-heavy. It has some very interesting ideas and is a thoughtful and entertaining film, but suffers from an uneven cast, with several key players giving grating, distracting, over-the-top performances. On the other hand, Return does an impressive balancing act, delivering plenty of laughs (more prevalent in the first half) that somehow never manage to compromise the horror content (which take an increasingly tighter hold as the film progresses). Return is also inventive, clever, well-paced and benefits a lot from the casting of three veteran character actors (Clu Gulager, James Karen and Don Calfa), usually support players all, and giving them each a chance to shine in their respective roles.

Frank (Karen, giving a terrific comic performance here) runs the Uneeda Medical Supply Warehouse in Louisville, Kentucky. After his boss Burt (Gulager) heads out for the Fourth of July weekend, Frank starts showing new employee Freddy (Thom Mathews) the ropes. Down in the basement are several metal drums, accidentally sent there by the military and each containing a shriveled corpse that Frank claims used to be living dead (Frank also claims that - wink, wink - Night of the Living Dead was based on a true story). One of the drums springs a leak, spraying Frank and Freddy directly in the face with a chemical called Trioxin, which knocks them both unconscious. When the two finally come to, they're deathly ill and notice that things in the warehouse that were dead before have miraculously been brought back to life... including a cadaver they have stored in the freezer! They, with help from Burt (who's called back in to help), dismember the corpse with a hacksaw and get nearby mortician Ernie (Calfa) to burn the remains in his crematorium. With the evidence now gone, everyone breaths a sigh of relief... at least temporarily.

The fumes from the crematorium head straight up into the sky, where they cause a sudden thunderstorm. The rain (which contains traces of the toxic chemical) coats the ground at neighboring "Resurrection Cemetery" and bring the dead crawling out of their graves. Freddy's girlfriend Tina (Beverly Randolph) and some other friends just so happen to be there hanging out and end up getting in the middle of things. Unlike most earlier zombie films, the zombies here can talk, are clever enough to lure victims into their clutches (one even uses a police radio to call in more paramedics and cops at one point) and are not so much interested in eating humans as they are feasting on human brains. After all, "It hurts to be dead." Return is also noteworthy for featuring fast-moving, agile zombies who don't just shuffle around, but actually chase after victims. (The number of people who run around claiming that 21 DAYS LATER... [2002] created "running zombies" - and these are people who should know better - is insane!)

Eventually, the military gets wind of what's going down in Louisville and decide to do exactly what the military probably would do in real life if something like this were to occur.

Of the cast, Karen gets most of the laughs (my favorite bit is when he starts beating a revived "split dog" with a crutch!), though both Gulager ("I hit the fucking brain!") and Calfa have their moments. And when the film becomes more serious in tone, all three actors adjust accordingly and smoothly to the material. Another standout in the cast is Linnea Quigley. Playing the role of a morbid punkette named Trash, she does a memorable dance atop a cemetery crypt, is killed and returns from the dead as a zombie... all the while sans clothing. This role turned Quigley into one of the most beloved female horror stars of the last thirty years, though she would seldom get such a high profile movie as this one. Another of the actresses, Jewel Shepard, also used this film to launch her career as a "Scream Queen," though to date she's amassed only a handful of genre film credit and never the lead role. Others in the cast include Miguel A. Nunez Jr. and Mark Venturini (who both had roles in FRIDAY THE 13TH V the same year), John Philbin and Brian Peck.

Some of the zombie make-up is a little minimal and forgettable (every once in awhile a non-made up zombie extra can be spotted amongst the crowd), but the featured effects are solid. The oily, skeletal "tar man" zombie (who escaped from the broken military canister) and a rotten half woman zombie are especially good. There's also a great soundtrack, featuring songs from The Cramps ("The Surfin Dead"), The Damned, Roky Erickson, SSQ and others. Debuting director O'Bannon had already scripted the huge hit ALIEN (1979), and even had some prior experience with zombies, having written the sleeper DEAD & BURIED (1981) a few years earlier. It's a shame he hasn't had the opportunity to direct more because Return and his next effort, the Lovecraft-inspired THE RESURRECTED (1991), are both well above average.

As with all successful horror films, a handful of variable sequels followed. The awkwardly-titled RETURN OF THE LIVING DEAD, PART II (1988) had some great zombie make-ups and brought back Karen and Matthews (playing different roles), but the humor was mostly obvious and juvenile and the characters were irritating. Brian Yuzna's surprisingly good RETURN OF THE LIVING DEAD III (1993) was a serious, tragic love story punctuated with black humor and loads of gore (some of which caused ratings problems). The dreadful RETURN OF THE LIVING DEAD 4: NECROPOLIS (2004) and RETURN OF THE LIVING DEAD 5: RAVE TO THE GRAVE (2005), which were filmed back-to-back in Eastern Europe and have more in common with brainless action-oriented zombie movies such as RESIDENT EVIL (2002) than their namesake, put the final nail in the coffin for this franchise.

Laurel Entertainment's Richard P. Rubinstein filed an unsuccessful lawsuit to try to prevent the filmmakers from using "Living Dead" in the title. A longer workprint version was unearthed in the early 90s, which ran 24 minutes longer than the theatrical release. In 2011, the two-hour retrospective documentary MORE BRAINS! A RETURN TO THE LIVING DEAD was released and featured interviews with nearly the entire cast and crew.

★★★1/2

El Charro de las Calaveras (1965)

... aka: Rider of the Skulls, The

Directed by:
Alfredo Salazar

Not entirely sure of the origins of this one. It seems like either a serial or a proposed television program that was later edited into a feature film. Our hero is The Rider of the Skulls, a Zorro-like, horseback-riding crime fighter who wears a huge sombrero and an all black outfit with skull emblems (which change positions on his shirt depending on the segment). Just like Mexico's wrestling stars, he opts to keep his face covered the majority of the time. The origin of the character is laid out just like many other famous super heroes. After his parents were murdered by bandits, The Rider swore on their grave to spend the rest of his life fighting the forces of evil. He says he covers his face because he represents justice and his identity is not important. Or as he tells a young boy; "Justice... does not have a face." In this episodic 80-minute release, the Rider faces off against three different monster foes; a werewolf, a vampire and the headless horseman. It doesn't work smoothly as a feature because the continuity is off, including shifts in costume, character history and even actors playing the same role!

Our werewolf tale opens with a farmer getting out a quick prayer before a werewolf goes for the jugular (and rips his face off). Similar attacks have helped to cause those in a small village to haul ass out of town. A financially-strapped family; headed by stressed-out, sleeping-pill-popping sheriff Don Luis Salvatierra (David Silva), simply cannot afford to leave. His wife Lupe (Alicia Caro) and stepson Perico, the latter ill ever since he himself spotted the monster, allow The Rider (Dagoberto Rodríguez) to come stay in their home until the creature can be killed. A cackling witch who lives in a graveyard raises a faceless corpse from the dead, which informs The Rider that Don Luis is the werewolf. This leads to a fist fight and a tumble down a rocky embankment. This segment has a fun enough cut rate werewolf design and cheap-o three-edit dissolves (man to skeleton to werewolf) to illustate transformation. At the end, The Rider decides to adopt young Perico and take a sidekick in the cowardly and thoroughly obnoxious Cleofas (Pascual García Peña) - typically annoying 'comic relief' - and allow them to come along on his other adventures. He also removes his mask and shows the two of them his face.

As tale #2 begins, you'll notice something different right away. For starters, the Rider of the Skulls' costume has changed. His skull emblems have moved from the back and sleeves to the front of his shirt. Instead of a black handkerchief with the eyes cut out, he now wears a black hood over his entire head. And it wouldn't surprise me if it were a completely different actor underneath the costume. In fact, I'm sure of it since the character's physique has changed. Even more strangely, "Perico" has miraculously transformed into "Juanito" and is played by a different child actor. Unfortunately, Cleofas is the same actor doing the same schtick.

Numero dos centers around a caped, ugly-faced vampire, who transforms into a rubber-bat-on-a-string. The vampire has been busy feasting on villagers, and sets his sights on a young señorita named Maria after killing her father. At the end of the first segment, the Rider had removed his mask so that his travelling companions (and we, the audience) could see his face. In this segment, the kid tells Maria that no one has ever seen his face. And the inconsistencies between the segments don't end there. Hell, discounting the first story, there are even inconsistencies within just this segment. Maria tells The Rider that she wants to avenge the death of her parentS, and yet her mom was safely in bed last we saw. The vampire's lair starts as a crumbling old hacienda, but five minutes later he's suddenly living in a graveyard...

Finally, we get to the very strange sight of the Headless Horseman galloping down a dirt trail on his horse. Just as in the other two tales, he's first seen laying waste to a poor fella walking down the road. His buddies, a pair of robed, skull-faced Grim Reapers, tell him his day of vengeance is coming soon. Meanwhile, a young woman named Gloria opens a box that belonged to her deceased grandfather and finds a living head inside! It instructs her to re-attach it to its body. She tries to bury it, but it miraculously reappears in her room. Gloria learns that the head belongs to a bandit who was executed years earlier and, to finally get rid of the damn thing, she decides to trace it back to its owner and reunite it with the body. One thing leads to another and The Rider, Cleofas and Gloria find themselves tied up and being threatened with a sword by the Horseman (who finally gets his head back on). Young Juanito unties them, The Rider and The Horseman get into a sword fight where one (hmmm... guess who?) ends up slain and a sudden thunderstorm strikes the skull dudes down.

In tone and execution, the whole thing seems like a children's matinee movie... but what other kiddie movies can you think of with faceless zombies, talking severed heads, werewolves ripping out throats and drunken bums stumbling into ladies bedrooms for some lovin'? The film is also notable for containing more fainting than a Justin Bieber concert. Considering the wide variety of papier-mâché creations on display, it can't help but to provide some entertainment (looking over these screen caps I realize just how amazingly nutty this whole thing must look), though well-executed it is not.

Never released theatrically in the U.S., in 2010 this was finally released on a double DVD by Lion's Gate, who have paired it with the non-horror El asesino enmascarado (1962).

★★